東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Silver Screen Sovereignty: Mexican F...

Herbert, Laura Michelle.

FindBook

Google Book

Amazon

博客來

Silver Screen Sovereignty: Mexican Film and the Intersections of Reproductive Labor and Biopolitics.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Silver Screen Sovereignty: Mexican Film and the Intersections of Reproductive Labor and Biopolitics./
作者:	Herbert, Laura Michelle.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	235 p.
附註:	Source: Dissertations Abstracts International, Volume: 79-10, Section: A.
Contained By:	Dissertations Abstracts International79-10A.
標題:	Language. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10760117
ISBN:	9780355657395

Silver Screen Sovereignty: Mexican Film and the Intersections of Reproductive Labor and Biopolitics.
Herbert, Laura Michelle.

Silver Screen Sovereignty: Mexican Film and the Intersections of Reproductive Labor and Biopolitics. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 235 p.

Source: Dissertations Abstracts International, Volume: 79-10, Section: A.

Thesis (Ph.D.)--University of Michigan, 2017.

This item must not be added to any third party search indexes.

This dissertation examines representations of femininity and political economy in Mexican sound film. I contend that the Mexican film industry's longstanding fascination with the nuclear family and sex work is an extended biopolitical commentary about capitalist development's reliance on a gendered division of labor. My understanding of biopolitics departs from Michel Foucault's work on the topic as an expression of sovereignty that emerged alongside capitalism. My analysis of this gendered division of labor derives from Marxist feminist accounts of social reproduction in which gender norms are used to assign women responsibility for reproductive labor, or the work necessary to replenish and sustain the workforce and social sphere. This project is a departure from past scholarship on Mexican film that has emphasized femininity's connections to maternity and sexual desire and undertheorized its relationship to economic development and state power. Chapter 1 explores the cabaretera, a subgenre of melodrama from the 1940s and 1950s. Close readings of Aventurera (Dir. Alberto Gout, 1950) and Victimas del pecado (Dir. Emilio Fernandez, 1951) suggest that these films advocated for a gendered form of labor similar to the one described by Silvia Federici and other Marxist feminist scholars in their work on primitive accumulation. It argues that this is emblematic of the emerging biopolitical state under the Partido Revolucionario Institucional and shows how state power and economic development were being rhetorically linked to gender during this period. Chapter 2 examines representations of sex work and land reform in Las Poquianchis (Dir. Felipe Cazals, 1976), Tivoli (Dir. Alberto Isaac, 1975), and El lugar sin limites (Dir. Arturo Ripstein, 1977), and Bellas de noche (Dir. Miguel M. Delgado, 1975). It suggests that films made during the Echeverria presidency (1970-1976) rework tropes and narratives from earlier periods to suggest that the state and economic elites were excluding segments of the population for their own political and financial gains. It draws on Giorgio Agamben's concept to bare life, David Harvey's accumulation by dispossession and Raquel Gutierrez Aguilar and Huascar Salazar Lohman's community weaving to suggest that these films highlight the failures of the Mexican state and call to think of new, non-state-based ways to organize the social sphere. Chapter three examines films made in the neoliberal present about violence in Mexico. I argue that Sin dejar huella (Dir. Maria Novaro, 2000), Traspatio (Dir. Carlos Carrera, 2009), Miss Bala (Dir. Gerardo Naranjo, 2011), and Las elegidas (Dir. David Pablos, 2016) represent a contemporary version of Achille Mbembe's necropolitics that is a new, neoliberal form of sovereignty that it not limited to the state. I read these films' refusal to prescribe a clear solution to the political violence they document as a demand to reprioritize social reproduction in public life in a way that is neither state-based nor organized around gender. My analysis revolves around close readings of each film read in conversation with theoretical concepts. Each reading is heavily contextualized politically, economically, and industrially in order to connect the content of each film to its historical context. Read together, these films suggest that representations of gender in Mexican cinema invite a broader conversation about how reproductive labor is organized and imagined in relationship to state power and economic development.

ISBN: 9780355657395Subjects--Topical Terms:

643551
Language.

Silver Screen Sovereignty: Mexican Film and the Intersections of Reproductive Labor and Biopolitics.
LDR:04735nmm a2200349 4500 001 2205919
005 20190909085558.5
008 201008s2017 ||||||||||||||||| ||eng d
020 $a 9780355657395
035 $a (MiAaPQ)AAI10760117
035 $a (MiAaPQ)umichrackham:001017
035 $a AAI10760117
040 $a MiAaPQ $c MiAaPQ
100 1 $a Herbert, Laura Michelle. $3 3432799
245 1 0 $a Silver Screen Sovereignty: Mexican Film and the Intersections of Reproductive Labor and Biopolitics.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2017
300 $a 235 p.
500 $a Source: Dissertations Abstracts International, Volume: 79-10, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Williams, Gareth.
502 $a Thesis (Ph.D.)--University of Michigan, 2017.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation examines representations of femininity and political economy in Mexican sound film. I contend that the Mexican film industry's longstanding fascination with the nuclear family and sex work is an extended biopolitical commentary about capitalist development's reliance on a gendered division of labor. My understanding of biopolitics departs from Michel Foucault's work on the topic as an expression of sovereignty that emerged alongside capitalism. My analysis of this gendered division of labor derives from Marxist feminist accounts of social reproduction in which gender norms are used to assign women responsibility for reproductive labor, or the work necessary to replenish and sustain the workforce and social sphere. This project is a departure from past scholarship on Mexican film that has emphasized femininity's connections to maternity and sexual desire and undertheorized its relationship to economic development and state power. Chapter 1 explores the cabaretera, a subgenre of melodrama from the 1940s and 1950s. Close readings of Aventurera (Dir. Alberto Gout, 1950) and Victimas del pecado (Dir. Emilio Fernandez, 1951) suggest that these films advocated for a gendered form of labor similar to the one described by Silvia Federici and other Marxist feminist scholars in their work on primitive accumulation. It argues that this is emblematic of the emerging biopolitical state under the Partido Revolucionario Institucional and shows how state power and economic development were being rhetorically linked to gender during this period. Chapter 2 examines representations of sex work and land reform in Las Poquianchis (Dir. Felipe Cazals, 1976), Tivoli (Dir. Alberto Isaac, 1975), and El lugar sin limites (Dir. Arturo Ripstein, 1977), and Bellas de noche (Dir. Miguel M. Delgado, 1975). It suggests that films made during the Echeverria presidency (1970-1976) rework tropes and narratives from earlier periods to suggest that the state and economic elites were excluding segments of the population for their own political and financial gains. It draws on Giorgio Agamben's concept to bare life, David Harvey's accumulation by dispossession and Raquel Gutierrez Aguilar and Huascar Salazar Lohman's community weaving to suggest that these films highlight the failures of the Mexican state and call to think of new, non-state-based ways to organize the social sphere. Chapter three examines films made in the neoliberal present about violence in Mexico. I argue that Sin dejar huella (Dir. Maria Novaro, 2000), Traspatio (Dir. Carlos Carrera, 2009), Miss Bala (Dir. Gerardo Naranjo, 2011), and Las elegidas (Dir. David Pablos, 2016) represent a contemporary version of Achille Mbembe's necropolitics that is a new, neoliberal form of sovereignty that it not limited to the state. I read these films' refusal to prescribe a clear solution to the political violence they document as a demand to reprioritize social reproduction in public life in a way that is neither state-based nor organized around gender. My analysis revolves around close readings of each film read in conversation with theoretical concepts. Each reading is heavily contextualized politically, economically, and industrially in order to connect the content of each film to its historical context. Read together, these films suggest that representations of gender in Mexican cinema invite a broader conversation about how reproductive labor is organized and imagined in relationship to state power and economic development.
590 $a School code: 0127.
650 4 $a Language. $3 643551
650 4 $a Film studies. $3 2122736
650 4 $a Latin American studies. $3 2122903
690 $a 0550
690 $a 0679
690 $a 0900
710 2 $a University of Michigan. $b Romance Languages & Literatures: Spanish. $3 3432800
773 0 $t Dissertations Abstracts International $g 79-10A.
790 $a 0127
791 $a Ph.D.
792 $a 2017
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10760117